I found it very perplexing how my conception of A Christmas Carol differed significantly from the beginning of the semester compared to my later analysis of the graphic novel version. It was almost as if I was reading two completely different stories, just by the way they were illustrated! It really speaks towards the way modern illustration has evolved in a manner that is dynamic and visually-arresting. Not only with the more well-rounded colour palette, but the way in which depictions of the ghosts and the supernatural was cleverly illustrated.

The incredible weaving and intricate artwork of Laurence Housman’s House of Joy was truly a sight to behold for this week’s reading. I was familiar with his art from beforehand through Goblin Market, but seeing him illustrate his own writing here is wonderful. A writer who can illustrate his own work truly encapsulates a vision well realized. The sweeping detail and fluid use of languid poses and compositional elements sets his illustrations apart, along with the vivid allusions to women’s rights and same-sex love. 

With each passing class, I am amazed by the sheer amount of detail and social commentary evident in these Victorian illustrations, revealing how instrumental they were for depicting the social issues of the time period. In today’s class, I was able to examine that quite clearly with Zeinab’s analysis of the beggar illustration within “The Man with the Twisted Lip”. Not only did it address the very Victorian value of classism, but also our lack of development in contemporary Western society.

I’ve always had a particular fascination with the art of William Holman Hunt and the careful delineation of detail that his work often encompasses, but his art piece for the Lady of Shalott that was viewed in class today was something else entirely. The namesake Lady in question is entangled in her own cords and looms and her face is intense with expression. To me, it comes across that this is not a woman who has accepted her fate, but rather opposes it. This is a brave and brazen portrayal of femininity.

This week in class, my group and I were tasked with creating a timeline entry for Clemence Housman’s The Were-Wolf, a gothic text situated around a monstrous female that terrorizes a remote village. I had never heard of the book before, so I was unaware of the surprisingly progressive feminist narrative, but I was even more astounded by the fact that not only had Clemence written it but she also had a significant role in illustrating the novel.